Monthly Archives: August 2013

Seamus Heaney Died Today

Heaney was born in Northern Ireland, and as a young Catholic man, he embraced the rise of the Provisional IRA, but before long, he realized that the two paramilitary sides would never solve anything. He was under pressure to use his gifts to benefit the cause. So, he left and went to live in the Republic. He wrote what was in him to write, and he won the Nobel Prize for Literature for it.

The Irish president also is a published poet, and he spoke today of Heaney’s scope and of his care for poetry from all over the world, especially the poetry of the oppressed. He had such humility that he was shocked when he won the Nobel Prize. And, he had the simplest philosophy of writing. He said that he “always believed that whatever had to be written would somehow get itself written.”

I love that. For one thing, it takes a lot of pressure off. It puts the importance on the writing more than on the writer. Rilke had the same notion. Before he wrote the Duino Elegies, he could feel them coming, and then he could hear them coming, and he was so moved that they chose him. In a way, all of this points to Erato, the muse of poetry. There’s something to be said for inspiration.

Heaney and Rilke are not similar as poets, but they both knew what mattered. Getting the work written. They knew what poetry can do. And there’s a real comfort for me as a poet to know that the poetry itself plays a part. It will get itself written. I have felt it demanding to be written, if I’m honest. The next time I feel panicky and incompetent about my work, I’m going to try to remember Heaney. It will somehow get itself written. Remember that.

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Nothing but Myself to Recommend Me

In one of my favourite novels, Jane Austen writes about “a young man, who had nothing but himself to recommend him.” It would be wonderful if people would look for themselves and judge another’s merits. Isn’t it strange that people don’t value their own judgement? They’re so uncertain about it that they need the validation of three referees. Who knows where that magic number three came from, but in my experience, that’s how many we need. Everybody asks for three. I suspect they do it because they’ve seen somebody else asking for three, and so it goes.

We apply for jobs or grants or residencies, and agencies don’t trust their own judgement. In fact, they’d rather avoid personal contact. It’s really odd, this whole keeping a distance thing. I make claims for my own merits, and I understand that some fact checking might be necessary. I don’t want to end up in Catch Me If You Can. But it’s especially easy now to see if I did teach all those courses and publish all those things. Those are the accomplishments, those and the education. Those are the things that qualify me for the job or grant or residency. But, very ironically, those things are not the focus of investigation. Only one of my many applications has ever required proof of a degree.

I have nothing but myself to recommend me. In the end, as Austen’s Persuasion shows, even if we have rank and possessions, we still have only ourselves, for good or bad. Today, yet again, I have sent out requests for people to write reference letters for me. I wish I were past that. In a very real way, reference letters don’t prove anything. Letter writers might be fabrications. I wish I were measured by my merits as I describe them, rather than how someone else describes them.

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Wading Through Grant Processes

When I was working on my PhD, I remember thinking that anyone who could complete an SSHRCC (Social Sciences and Humanities Research Council of Canada) scholarship form should automatically get said scholarship. I got one on my second try, thank you very much, and it was worth it, but I often think that application processes are made daunting intentionally, to weed out the uncommitted. It takes mental and physical energy to do these things, especially knowing that–most likely–there’s no reward.

I applied to the Canada Council three times, all for the same project, before I got a grant, and I kept working on the project all that time. When the grant letter finally came, I had to read it a lot of times before I understood it said what it said. My brain assumed it was another formulaic rejection letter. I put it down and then came back and read it again before I told anybody. That project is finally complete, the final report to the Council is sent, the file on that grant is closed. So I can apply for another. Oh Yay!

This summer, I am applying for grants from two agencies. The provincial one defines “project” very differently from the way I do (or any dictionary does), so I was having a terrible time figuring out how to word it. My planned manuscript is about half finished, but the forms warn that the project cannot commence before the grant start date. It turns out that writing the last half of a project is a project. Thank you, Jill, at AFA. I’m kind of a purist when it comes to definitions, and I’m also painstakingly honest, so you can see my predicament. I want the money, but I don’t want to lie. Hurray that I can apply with a clear conscience.

That application is now submitted, all its four copies, with all its pages of information, its detailed balanced budget, its project description, and its accompanying writing sample. It weighed so much it qualified as a package, so I had to pay $10 to send it. Now, I turn my attention to the second application. I’m asking the Canada Council for $20,000, over two years, and I want you to try to imagine the detail required in an application for that much money. To a writer, that’s a boatload of money.

The application requires a two- or three-sentence summary description, plus a lengthier description, which may fill up to two pages. Striking the balance in these two components is very difficult, but very critical. The summary has no room for anything beyond specific points, yet it must have something in it to engage an unknown assessor. The detailed description, at the moment, is a whirling mass of passion and data. My son says I’m to find a way to mention that the last time they gave me money, I finished and the manuscript is about to be published–that’s The Hungry Grass. He has a point. It adds to the balancing act. I’m going to try to wrestle it to the ground over the next few days.

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